This page brings together practical information, explanations, and guidance for glass fusers who want to better understand the process, improve their results, and make more informed decisions in the studio.
The articles cover topics such as firing schedules, kiln behaviour, glass compatibility, project planning, troubleshooting, tools, materials, and general glass fusing techniques. Some articles are aimed at beginners, while others go into more detail for people who already have some experience and want to refine their work.
Glass fusing often involves a mix of creativity, testing, observation, and patience. These articles are intended to help you understand not just what to do, but why it matters, so you can adapt the information to your own kiln, glass, projects, and working style.
Use this page as a reference library. Browse the articles, revisit them when needed, and treat the information as a practical starting point for your own testing and learning.
Bullseye 000403 Opaline Opalescent is one of those glasses that can be a little confusing the first time you use it. In its cold, unfired form, it can look quite clear, sometimes with only a few white wisps. After firing, though, it can develop into a soft, hazy, milky glass that lets light through in a warm way.
This article is only about using Bullseye 000403 Opaline Opalescent in glass fusing. It is written for beginner and hobby glass fusers who want to know what this glass does, when to use it, and what to watch for before putting it into an important piece.Â
Glass compatibility sounds like one of those topics that should be simple, but it can become confusing very quickly.
This article is not meant to be a technical chemistry lesson. It is a practical way to think about compatibility in an ordinary glass-fusing workspace, so you can avoid one of the more frustrating causes of cracks and failures.
Most of us start with firing schedules the same way.
We find one somewhere, copy it into the kiln controller, press start, and hope for the best.
And honestly, that is not a terrible place to begin. We all have to start somewhere. But after you have fired a few pieces, you quickly find out that a firing schedule is not magic. It is not a recipe that works the same in every kiln, with every piece of glass, every time.